GAEREA “Unsettling Whispers” Album Review + Stream + Music Videos…


Unsettling Whispers – Vinyl // CD // DD // Merch

Transcending Obscurity Records – releases June 22, 2018 

Terry “The Ancient One” Cuyler    

“Lending an Ear to the Mouth of Madness”



Not very long ago I was feeling a nice mellow after listening to some outstanding stoner rock however that soon changed after I received and listened to a pre-release of a debut album by Portugal’s black metal band GAEREA called “Unsettling Whispers”. Though they conceal their identities from the world at large behind black masks with occult symbols, GAEREA do not fail in making their intentions known. In the statement on their Bandcamp page they say to their audience:
“Let’s make one thing clear. We need to stress the fact that our era is lost in a huge void of numbness. We are here to bring and present you what your system could not solve by itself. We’ll cover the daylight with ashes and smash the massive skull that’s blocking your brain and will to evolve.” – We’re GAEREA

I can’t say with certainty when GAEREA began their quest to lead our world that is lost in a void of numbness to its ultimate destruction or evolution.  But after a bit of research I learned many in the black metal underground began taking notice of GAEREA after the  released it’s S/T debut EP on the Italian label Everlasting Spew Records in 2016 earning a small but loyal cult following and positive reviews in the black metal web-a-zines and blogs.  Presenting themselves as a musical adversary GAEREA spits Narcissism, Self Destruction, Misanthropy, Mental Numbness creating an image of humanity at its worst through their music which it’s audience will hopefully be inspired to NOT become.

With a “Self Titled” debut EP out in MP3, CD, and Vinyl format, appearances around Portugal, and Spain and a boatload of reviews, GAEREA signed on with Transcending Obscurity Records and began work on their debut Full Length which is set for release June 22, 2018. Recorded, mixed and mastered by Miguel Tereso. With much better production, GAEREA has managed to put more focus into the artistic aspect their music deserves. While I felt the angst and venomous bile in their “S/T” EP, pushing the play button and listening to Unsettling Whispers was like lending an ear to the mouth of madness. Though I could only pick out  a few of the words because the vocalist uses some hardcore vocal techniques that are spat out in a feral growl, I could definitely feel the musics intent and emotion he is trying to convey which I think were best represented in these “SELECT” standouts!

Band Pic

Svn –  Beginning with an eerie oscillating sound that moves into pained ghostly whispers, ‘Svn’ feels like walking up to the very gates of hell and seeing a glimpse of what is in store as the build up begins and then let loose with a maelstrom of melodies, blast beats, and bellicose harsh vocals that lead into ‘Absent’.

Absent – What I managed to pick up from this is its about a person that discovers a loved one dead by their own hand. Throughout the song I hear the guitarist playing with a melodic tremolo picking technique and the drummers blast beats lending the bitter disrepair in the vocals creating a vision of somebody smashing their house up and setting themselves ablaze.

Whispers – What impressed me most about this song were the buzz saw riff, and jackrabbit fast blast beats that fooled me into thinking the song was nearly over as the tempo slowed only to pick right back up again  before ending in a furious crescendo.


Lifeless ImmortalityWhile GAEREA definitely uses some Hardcore elements in their music. They also have a melodic feel that shows up in ‘Lifeless Immortality’ using techniques on the guitar and bass that would work just as well on a violin or cello.

“Unsettling Whispers” will be available on Jun 22 in MP3, Vinyl, and CD on June 22. This is definitely an album to pick up. You can pre-order it on Bandcamp at the above link and buy a T-Shirt.

Earth Drive “Stellar Drone” Album Review + Stream…

Earth Drive

Stellar Drone – CD // DD

Raging Planet – released June 10, 2017 (DD) & October 20, 2017 (CD)

Reviewed by Zachary “+Norway+” Turner



Hermano Marques – Vocals and guitar
Luis Silva – Bass
Luis Eustáquio – Drums
Sara Antunes – Vocals


Previous Releases:
2014 Known by the Ancients
2015 Planet Mantra


Lactomeda 01:49
Known by the Ancients 07:01
Dead Blood for the Royal Weather 07:14
Two Temple Place 09:36
Stellar Drone 10:59
Are we Drowning in Digits 06:13
Magical Train 05:07



The band have their album described as an “Addictive cosmic journey, one entrancing hybrid embracing heavy psych riffs and sweet vocal harmonies.” The album does have those elements of that. When Hermano is singing it sounds like Jane’s Addiction but heavier and more distortion on the voice. The parts when Sara takes over it sounds like either Belly or Hole. When they sing together it sounds almost new, but still has those influences. So in shorter terms; they gave their album a good description.


Lactomeda – Is a Spanish term for the Milky Way Collision with Andromeda. The cover even seems to be depicting it. The song is a collision of Noise Rock and Space Rock. It is almost sludgy for a noise song but in pace but it is also fast for a space song. It is a good intro for what the rest of the album holds.

Known by the Ancients – Here is where the Jane’s Addiction comes in (Especially in the 3 minute area). This song is more of noise than of space origin. This is a heavy rock song, Hermano comes in at the last two minutes and makes the song seem even heavier.

Dead Blood for the Royal Weather – This is one of the more radio friendly songs, even though it is eight minutes. It plays it safe and doesn’t do anything too crazy. It stays on the cusp of being space and noise.

Two Temple Place – This is the first true Space Rock sounding sounds and as it moves along it introduces some of the harmonies the description on bandcamp mentions. It is a slow song with slow vocals with stretched out chords with reverb and drum fill. That is until the 3 minute mark; more drums and distortion to the guitar is added and everything gets slightly faster. At around the four minute mark the tempo changes again and is like Known by the Ancients.

Stellar Drone (Favorite track) – This track is more spacey than the previous track but it is also faster and more distorted and changes tempo a few more times.

Are we Drowning in Digits – This song is almost like a continuation of Two Temple Place. It sounds very similar but has more “Normal” Rock influences.

Magical Train – This is the most radio friendly track and could have been released as a single to promote the album. It is also the song that reminds my the most of Hole (the first album.) Sara really goes in on this track and gives a great performance. It is like the previous track but stays on the heavy rock side of music.

Pro Band Pic

Review (Continued):
Musically, Earth Drive are bringing back the 90’s Noise Rock and helping to bring back Space Rock (in the more expansive tracks). During the mostly instrumental parts it sounds almost like a soundtrack to a late 80’s sci-fi movie. In some ways it sounds like it is two separate ideas for an album that were pieced together but it is done well so it doesn’t sound too different. To paraphrase the TV Series “Stranger Things” – ‘The Upside Down'”.

This is a very easy first listen and is also very accessible because the stretches of odyssey are in between more pop/rock radio-ish oriented tracks. If you have any interest in Space Rock or a modern take on it with influences with 90’s Noise Rock, you should take a listen.

 There are two choices either from the Raging Planet (For a physical and/or digital) Bandcamp HERE or the band’s HERE !!! (Where you can get the full digital discography)


Album Promo

Sumokem “The Guardian of Yosemite” Album Review + Stream + Vinyl Release…


The Guardian of Yosemite – CD // DD (released October 6, 2017)

Cursed Tongue Records – Limited Vinyl (100) // TP Edition Vinyl w/ 7″ (20)

// Jet Black Vinyl (200)

Reviewed by Eric Layhe



Attack of the Mammoth (7:52)
Warning (6:44)
War Pipe / Rite of the Calumet (7:38)
Ogama (8:43)
Tisayac (9:34)
Mescalito/Meeting of the Half Moon (7:02)
Nantucket (10:05)
Emerald [digital-only bonus track] (4:05)

Band Members:
Jacob Sawrie – Vox/Rhythm
Drew Skarda – Percussion
Tyler Weaver – Lead
Dustin Weddle – Bass

Josh Ingram (RIP) – Lead
Alan Wells – Bass



To say the least, 2017 has been a huge year for heavy music. The year has granted us several new releases, most notably Mastodon’s Emperor of Sand. However, the music world often functions like archaeology – The deeper you dig, the more treasures you will find such as the gargantuan slab of Doom that is Sumokem’s “The Guardian of Yosemite”.

When I say gargantuan, I mean it. Each tune on this release is not only long, but feels like it has been custom-tailored to be as gigantic as possible, from the performance to the production to the composition. Every riff hits like a Warhammer to the temple and it wouldn’t feel right any other way. Each member is extremely in tune with one another and they really feel like a single living and breathing organism.

Sumokem’s Special Vinyl Release Date – Friday, January 12th, 2018

Limited Red_Gold_Wax_100

Special credit, though, goes to their lead guitarist. Every member is excellent at their instrument, but the guitar goes above and beyond to ensure that each and every solo is searing and quick, keeping the listener’s attention while still progressing the song further and further down into heavier and heavier territory as the album goes on.

It’s unbelievable just how heavy this album can be. It opens like a freight train, but by the time the epic-length dirge and album high point “Nantucket” begins, you can only be floored by how well Sumokem brings music back to its primordial roots. There is no feeling greater than finding a band that is both classic and novel – one that both pushes the boundaries of music while reminding us why we love it in the first place, and with its ultra-heavy prehistoric jams, Sumokem’s “The Guardian of Yosemite” has given us just that.

Band Pic

Sons of Apollo “Psychotic Symphony” Album Review + Music Videos

Sons of Apollo

Psychotic Symphony – Vinyl // CD // DD

Inside Out Music – Released: October 20, 2017

Reviewed by Eric Layhe


God of the Sun (11:12)
Coming Home (4:23)
Signs of the Time (6:43)
Labyrinth (9:23)
Alive (5:06)
Lost in Oblivion (4:28)
Figaro’s Whore (1:04)
Divine Addiction (4:42)
Opus Maximus (10:39)

American Rock Supergroup featuring:
Mike Portnoy – Drums
Derek Sherinian – Keyboards
Ron “Bumblefoot” Thal – Guitar
Billy Sheehan – Bass
Jeff Scott Soto – Vocal


Pro Band Pic


Former Dream Theater drummer Mike Portnoy is a man with many hats. Granted, most of those hats are as a drummer, he has many hats nonetheless. His latest project, yet another Progressive Metal Supergroup called the Sons of Apollo, may actually be his strongest. Sons of Apollo, comprised of Portnoy, fellow Ex-Dream Theater bandmate Derek Sherinian on Keyboards, former Guns N’ Roses guitarist Ron “Bumblefoot” Thal, Mr. Big Bassist Billy Sheehan, and Trans-Siberian Orchestra vocalist Jeff Scott Soto.

Psychotic Symphony is essentially exactly what you would expect from a Portnoy excursion – it’s essentially a Dream Theater album with a harder edge. That’s not a bad thing, however. As long as you like this very distinct and often-imitated sound, you will be very pleased with this album. Solos galore, plenty of irregular time signatures, and top-notch musicianship abound.

As a slightly lesser-known name in the music business, one would expect Jeff Scott Soto to be something of a weak link in the band, but that is simply not true. Soto has a very muscular baritone that does the music plenty of justice and he is a welcome addition to the band. During the Sons of Apollo’s formative year, they sampled quite a few vocalists, such as Strapping Young Lad Virtuoso Devin Townsend and King’s X wailer Doug Pinnick, and Soto just happened to be the one to stick around.

The Production on this album is notable, being performed by band members Portnoy and Sherinian. The mix is very, very bassy, with a lot of priority being given to lower tones over higher ones. The bass is very audible and few keyboard lines go to very high pitches. Even the guitar is tuned as a baritone guitar, all the way down to B Standard tuning for any guitar players reading this. This grants the entire album significant edge and weight, allowing for a heavy groove in nearly every song. However, such a priority on lower sounds can occasionally result in the songs sounding muddled, especially in faster songs like the blistering “Lost in Oblivion”.

As usual with Progressive Metal, the longer tracks are easily the highlight — in this case, “God of the Sun” and the Instrumental “Opus Maximus”, but this whole album is a recommended listen for any and all fans of Progressive Metal. If musical self-indulgence and sheer showcases of talent is a turnoff for you, then this probably earns a skip, but if those things instead pique your interest, then you’ve probably already bought this album. Otherwise, go pick up Sons of Apollo’s “Psychotic Symphony”.

GoatWhore “Vengeful Ascension” Album Review + Stream..


Vengeful Ascension –Vinyl // Digital Download // CD

Metal Blade Records – Released – June 23 2017

Reviewed by Mike Hackenschmidt


Line Up:
Ben Falgoust/ Vocals
Sammy Duet / Guitars and Vocals
Zack Simmons / Drums
James Harvey / Studio Bass
Robert “TA” Coleman / Live Bass

December 20, 1996


GoatWhore: Just saying the name puts a smile on my face. Say it with me now: GoatWhore. Did you smile? If you didn’t I’m willing to guess you didn’t say it out loud. Maybe you’re on a bus or waiting for the doctor and afraid to be judged? Toughen up a little. PC culture would love to take our GoatWhore away. Are you going to sit back, stay silent and let them take our GoatWhore? Let me hear you! GOATWHORE!

Fuck that feels better! I sure got some dirty looks stopping through white bread America wearing my GoatWhore shirt on my way home from seeing them live at Full Terror Assault. (Check this shit out, best kept secret in American metal). Seeing GoatWhore live has been a treat each time. The energy is electric and these guys know this full well. In fact, according to their Facebook page when they recorded Vengeful Ascension, GoatWhore aspired to match the live experience as much as possible. Let me say, they 100% have the right idea. On one hand, it’s unfortunate that you simply can’t package up the energy of a GoatWhore concert so they’ll never reach this goal. On the other hand it’s fortunate you can’t simulate a GoatWhore concert because you’ll never be able to download it and that means you have to get off your ass and go see them. Each time I have, Ben Falgoust says roughly the same thing (paraphrased): “Get the album. Buy it from the merch booth, off Bandcamp or steal it off the internet BUT come out to a concert and support the band.” So just what are we stealing off the internet?

First the cover of Vengeful Ascension depicts what I believe to be their rendition of Lucifer, having fought his way back from the depths of hell and risen to the earth, clutching the sun and marking it with some sort of magic symbol. He appears to be sucking the energy out of it and into himself no doubt to power himself for impending battle. This imagery seems to hold true to the theme of the album. Straight from their Facebook page, the following is what they intended the album to be all about. I feel compelled to directly quote Falgoust, his words eloquent and clear:

“There’s that whole idea of Lucifer being the anti-hero. He’s cast out from this place in Heaven to the depths of nothing. He keeps trying to ascend to the top again but no matter what, there’s always this significant force trying to destroy him at any point and banish him back to Hell. If you look at it from an everyday aspect in life, it’s the idea of people, hitting the bottom of the barrel or you know, things just aren’t going right in life… emotion plays a huge part in how people react. Whether it’s based on love or hatred or sadness or whatever, there’s always an aspect of emotion that drives people to an extent. So the whole idea of a ‘Vengeful Ascension’ is built on being at the bottom, working your way to the top, and realizing along the way that there’s other facets to the journey aside from just pure retribution. Within negativity there can exist a positive angle as well.”

I would have needed to write a 10,000 word essay to convey this concept. And for this idea alone I would buy this album and use it as a theme to my rise.

live Shot

Musically speaking, Vengeful Ascension is very similar to what GoatWhore has been offering up for the past 17 years. They somehow manage to blend elements of several different sub-genres together in order to create their own unique sound. Wikipedia lists GoatWhore as “Blackened Death Metal”, whatever that means. GoatWhore’s Facebook page list them simply as “Metal”, which I feel is more accurate. Album to album, track to track we get emphasis on different sub-genres. Vengeful Ascension leans toward black more so than any.

Track 2, “Under the Flesh, Into the Soul” has elements of speed metal yet mysteriously sounds like something that might have come out of Dimmu Borgir’s playbook. This is one of my favorite tracks on this album and these jerks have not deviated from the practice of giving the most complicated titles to the earworms. Try yelling out “Under the Flesh, Into the Soul” between songs next time you see them live. As if to prove my point, “Mankind Will Have No Mercy” shows up later on the album again with that speed metal feel that I can’t get enough of. This one probably has the least blackness on the album.

They follow this up with the title track, “Vengeful Ascension”. Again, this track is heavy in the black metal but thankfully not without a slightly off-key melody. Later tracks, “Abandon Indoctrination” and “Those Who Denied God’s Will”, are structured very similarly. It allows the track to keep that black metal feel without being boring.

Pro Band P

Where the “Sun is Silent” is a slower paced track, thankfully the only one of its kind on Vengeful Ascension. I’ll admit my bias right now; I want to spend my live GoatWhore experience in the pit. I’m getting a bit old so one or two slow ones is a welcome breather. I really don’t have time for any more than that.

In summation, Vengeful Ascension is another great GoatWhore album. The band wants you to hear it and it sounds to me like they don’t really care how. The one caveat is that you go out to the shows. I think that’s a pretty fair deal. For those who just aren’t in the right geographical area or for those who aren’t in a financial position: Go back and review the Falgoust quote above and use it as motivation to bring yourself into a better position where you can afford to get out to a show or maybe plan that trip to the festival you’ve always been dreaming of… where you’re sure to see GoatWhore… and maybe pick up a shirt too.

Xanthochroid “Of Erthe and Axen” Album Review + Video…


Of Erthe and Axen – Act I (of 2) – CD // DD

Self Released – August 22nd, 2017

Reviewed by Ric “Suisyko” Dorr



Born:  January 2005


Lake Forest, California USA

Previous Releases:

“Blessed He With Boils” (2012)

“Incultus” (2014)

Disc I [Act I]
01. Open the Gates, O Forest Keeper
02. To Lost And Ancient Gardens
03. To Higher Climbs Where Few Might Stand
04. To Souls Distant And Dreaming
05. In Deep And Wooded Forests Of My Youth
06. The Sound Of Hunger Rise
07. The Sound Of A Glinting Blade
08. The Sound Which Has No Name


Listing influences from ALIEN ANT FARM to Opeth, Moonsorrow to Wintersun and even DIMMU BORGIR, this three piece has no compunction about letting you know that this is not your average ‘every-man’ style of music but geared more towards the intelligencia among us and have all of the tools in their possession to show you why. They are self-described as ‘an Epic Black-Metal band that strives to produce the most sophisticated and enthralling compositions’, further citing that Xanthochroid is ‘not for the casual listener, but for the true connoisseur who demands more depth, more detail, and more musicality than what is out there presently.’

Pro Band Pic

From the winding recesses of the mind of Sam Meador, the focus of the band came together through combining the desire to create moving stories with a love for pagan mythology into an ever evolving mythos, the music tells a story of a long power struggle between Thanos and Ereptor, two brothers who are heir to a deceased king fighting over the rightful kingship of the land of Septentria. This release and Part II (due Oct 17 2017) are being touted as a prequel to the two previous releases, further filling in the missing from the tales as woven to this point.

Xanthochroid offers up 8 tracks totaling 43 minutes and each is presented in the full cinematic method this trio has established to be their norm. Even the names of the individual tracks invoke a feeling of more than just another song title, from opener ‘Open The Gates O Forest Keeper’ which immediately popped Opeth in my brain, to ‘In Deep and Wooded Forests of My Youth’ that has all of the flourish of any black/folk song out there with the added panache of vocals that come out of the surrounding mists you can smell as the music flows across and underneath you. Operatic at times, multi-layered harmonies and instrumentation executed with bravado in precision-filled performances.

The last three tracks I would presume to be a three-part tome as each has a specific ‘Sound’ reference, ‘The Sound Of Hunger Rises’, ‘The Sound of a Glinting Blade’ and ‘The Sound Which Has No Name’, all strung together. Flowing one to the next and wrapping this with the darkest track musically, almost sounding as if Dany Filth himself had a hand in the writing.

The anticipation for Part II is already building and with this release, the scope widens even further! If you are not a fan yet, get this as a perfect starting point and if are already ‘aware’, continue the voyage adding this release to your library, share those that do not know and witness the spectacle LIVE if you are granted the chance… keep it LOUD!!

Pro Band Pic

Blues Funeral “Awakening” Album Review + Video…


Blues Funeral

Awakening – CD // DD

Self Released – August 25th, 2017

Reviewed by Terry “The Ancient One” Cuyler


Jan Kimmel (El Janni) – Guitar, Nord, Vocals
Maurice Eggenschwiler – Guitar, Vocals
Cory Cousins – Drums
Gabriel Katz – Bass

Right now I’m sitting here at my laptop struggling put words together to describe what I just heard, and come right to the point rather than lose you in the lines of a long rambling review. Doing so will be difficult but I must try. Not too long ago I got a promo release of the new album “Awakening” by Blues Funeral, the band’s sophomore album.

Live Band Montage


As one who feels music rather than just hears it, playing what’s described by Blues Funeral as music influenced by “Early rock, proto-metal, jazz, classical, and things that make your skin crawl”  this is definitely the kind of music that speaks to me. What impressed me most about “Awakening” was the whole package. The harmonious vocals, the lofty guitar leads with earthy rhythms and the drums that gives the music a heart. This music took me back to listening to the late nights listening rebroadcasts of “The King Biscuit Flower Hour” on the local Classic Rock station were I was schooled on rock as a teen.

“Awakening” is what I would call a new AOR (Album Oriented Record) classic.  If you dig bands like “Deep Purple”, “Cream”, Led Zeppelin and The Allman Brothers then you are sure to dig this. The flow of the album renders you to listen to it in its entirety to let the sonic glory shower down and permeate into your being. These are the songs that stood out most for me:

‘Awakening,’ the albums title track sounds like kickass hybrid of a 60’s proto metal and classic 80’s metal song and establishes the band’s sound for the listener. Taking the lead guitarist and vocalist Maurice Eggenschwiler opens playing a soaring guitar lead in and is then followed by a soulful organ lead by electric organist, guitarist, and vocalist Jan Kimmel (El Janni). Throughout the song El Janni and Eggenschwiler play both competing and complimentary sounds that kept me waiting to hear what was next.

Track 4 ‘Firedrake’ blew me away. Featuring the vocals of Ms. Kelly Cousins with Lyrics by: Jan Kimmel.   This song is inspired by “Cormac McCarthy’s ‘The Road” and speaks of hopes and aspirations in a post apocalyptic world. Full of organ, bluesy guitar riffs and leads;  Eggenschwiler,  El Janni, and Ms. Cousins are simply amazing.  Refusing to let up Track 5 “Casimir” grabs the listener with lofty guitar and vocal leads, melodies, harmonies and rhythms.  While Eggenschwiler and El Janni are as amazing in The closing track ‘The Gathering Dust’ drummer Cory Cousins, and bassist Gabriel Katz shine through.  The riffs are sublime and hard hitting.  A perfect way to finish this release in proper form…EXCEPTIONAL!!

Blues Funeral will be playing a CD release show on August 25th at White Oak Music Hall in Houston, Texas alongside DoomstressFiddle Witch and the Demons of Doom.


Elder “Reflections Of A Floating World” Album Review & Stream…


Reflections Of A Floating World – Vinyl // CD // DD

Stickman Records/Armageddon Label – Release Date: June 2nd, 2017

Reviewed by Andy “Dinger” Beresky


Today I’m going to talk a little about conflicts of interest.  That’s a pretty scarce topic in the realm of the music world, though for me, it’s always that proverbial elephant in the room that no one wants to talk about, or even acknowledge.  Why?  Because conflicts of interest is pretty much business as usual in the music biz and I don’t think that it’s often on people’s collective radars as a result.  Why am I choosing this particular topic as the item of interest du jour?  Because in full disclosure, I’ve had a long history with Elder, and I’d hate for any of you to think that my objective subjectivity could be in any way tainted by either personal interests or outside influences.

If you think about it, it’s fairly obvious why Elder and Black Pyramid would have so much history.  Both bands were coming into their own around the same time, in the same geographic area, Massachusetts, initially playing a similar style of post-Sleep stoner doom, and we were both signed to the same label, Meteorcity.  We often shared billings on New England shows, heck I remember playing basement shows in Providence, Rhode Island with these guys before any of them were even old enough to drink legally (they didn’t let that stop them).  I borrowed Nick’s amplifier at the Stoner Hand Of Doom festival when the reverb tank of my trusty Ampeg V-4 went to shit and took the rest of the amp with it.  I went out and bought a Soundcity 120 like his afterwards, and eventually Jack from Elder used it as a bass amp when we were sharing a bill in Keene, New Hampshire.  I slept on Matt’s sister’s couch after a High On Fire show in Boston, and I don’t think that she was particularly pleased to wake up to a strange hairy beardo, so I quickly made myself scarce.  Even when I had taken a full hiatus from music, Nick gently urged me back to towards playing again, and Matt encouraged me to come over to jam with he and Nick, as they were both living in Western Mass. at the time.  This is an offer that I sadly declined, but that’s besides the point.  The point is, these guys were my brothers-in-arms, my friends and my musical family, so obviously I have every reason to write them a glowing review, right?

This seems like a particularly pertinent time for this discussion because I don’t think that anyone is going to dispute that Elder are amazing, so my glowing review is just going to be E Pluribus Unum, one of many, out of the many, one, par for the course.  I don’t think anyone would seriously question my journalistic integrity because of this review….well, no more than they normally would anyways.  It’s not like I’m writing that some previously unknown and seemingly mediocre band is the greatest thing since sliced pepperoni pizza and cheap beer, and you later find out that they’re actually my drinking buddies and pizza pals.  That would of course be highly suspect, wouldn’t it?  But Elder have rightfully earned their place in the pantheon of heavy psychedelic rock, so I’m considering myself relatively safe.

As I’ve written in past reviews, I shouldn’t be safe.  You shouldn’t inherently trust my opinion.  You shouldn’t inherently trust any reviewer’s opinion, really.  Most of those opinions will be rife with conflicting interests: the desire to see their favorite bands succeed, wanting to do favors for friends, wanting to please the powers that be, mainly the labels that are supplying them with free music, etc.  It becomes a bit like politics – the longer someone is in the game, the more they start to develop relationships that serve themselves rather than the constituency they initially aimed to and still claim to serve.    Eventually the conflicting motivations become deeply embedded, unconscious, second nature.  Many reviewers are nothing more than wannabe taste makers who think that they should personally possess the power to decide who succeeds and who does not.  Many write for the sake of their own ego, getting off on their own wordiness and acclaim as writers rather than the music that they supposedly serve.  Many simply follow trends, or just write safe as milk, formulaic reviews because it pays the bills.  No one is totally pure or entirely immune, no matter how noble their initial intent.   It eventually becomes all about influence. In the end, in some way, shape and form, they all end up serving The Threefold God Of Influence: Power, Fame, Money. They are under the influence.  You can’t trust them.  You can’t trust me.  I have my own agenda; it’s just not any of those particular things, is it?

Pro band Pic

On their first album, Elder had a song called “The Riddle Of Steel.”  I’m sure most of you are familiar with the original Conan The Barbarian movie, where Conan’s father waxes poetic about trust.  He talks about how you can’t trust anything in this world except your sword.  Wise words, though I believe that the pen is indeed mightier than the sword, and that’s the crux of my agenda.  I’ll tell you who I believe that you should trust: trust your own taste and opinion.  Trust yourself.  Think for yourself.  Choose for yourself. This, this you can trust.

The subject matter of Elder’s latest magnum dopus also makes my rant timely, as it ties right into the themes of the album itself.  In many ways, I believe that Elder and I are actually saying the same things through different mediums, though I’m much more blunt about it while they utilize an elaborate allegory, mainly that of the floating world.  Known as Ukiyo, the term is a reference to life in urban Japan during its period of high feudalism.  The typical Japanese city-dweller would embrace the many aspects of Ukiyo: the beauty, the artistry, the culture, along with the flip side, the decadence and the corruption, whereas the Buddhists saw the floating world as the very apotheosis of the dualistic illusions from which they sought to escape.

The music industry, in many ways, is much like the floating world, and I’m fairly certain that despite their youth, they’ve been in it deep enough and long enough to recognize the similarities.  On Reflections Of A Floating World, it’s unclear if Elder are holding up a mirror to the conflicting realities of modern life, or directly commenting on music in the way that I’ve chosen to in the context of this review.  I suppose that in the end, it doesn’t really matter, as our precious little music scene is nothing if not a microcosm of a larger cultural phenomena.  I truly don’t think that we can separate one from the other – great art in my book will always be relevant to what is going on at the moment; it will always harness the zeitgeist, the spirit of the age, the collective unconscious, first and foremost as its muse.  That’s what makes music feel immediate. It’s what makes it sound urgent.

This to me is Elder’s crowning achievement.  Many people loved Lore.  It was good and in many ways a high point stylistically, though I found it to be a bit disjointed, in both flow and execution.  It seemed largely like a transitional album, a band trying out new things and new directions, and despite its reception and overall promise, there was something off about it for me, something strangely stunted and one dimensional.  Not a popular opinion, I’m well aware, and I don’t care. I could give two shits about popular opinion, and so should you. Reflections Of A Floating World is superior in my opinion, for many reasons.  First and foremost, Nick’s vocals are better than they’ve ever been.  You may or may not recall that on the earliest of Elder releases, his vocals were basically sludge-based screams and growls.  He’s gradually adopted a cleaner style with each release, and with Reflections Of A Floating World, he’s settled into a style which emphasizes a more high pitched register while keeping the melodies relatively simple.  It works well – he doesn’t really sound like anyone else, and his approach doesn’t overshadow Elder’s strongest element, their compositional prowess.  Sure, they’re still largely monotonal, there’s little movement melodically, though they’re not the key ingredient to what makes this album shine.  It’s all about the instruments.  Sometimes less is more, and I believe that vocals should always be considered just another instrument in the overall mix.

Throughout the course of six songs and sixty odd minutes, Elder essentially put on a clinic , divine a prophecy, show us the future of a genre that’s badly in need of reinvention.  The structure, writing, and production of this album is nothing short of stellar.  Seriously.  This is a landmark album.  This will come to be considered one of the high water marks, an album that will come to define and even re-define the genre.  I don’t say this lightly, and I’m honored to know these cats.   I’ve never heard a “stoner” album with such a nuanced atmosphere, such a multitude and magnitude of textures.  There’s all sorts of amazing tones and effects on the guitars, and the addition of a second guitar has certainly added an entire other dimension to Elder’s sound.  I have a feeling that it mostly gives Nick more freedom and breathing room to lay down leads and still have a foundation of riffs underneath, and there are also lots of cool harmonized and orchestrated guitar parts throughout.  Despite the fact that this cat can rip it up, Nick’s  guitar work is largely restrained; the solos are sparse and never come off as showboating.  They’re tailor made for whatever each musical moment requires, and flashy or not, Elder set their fretboards ablaze with the light of inspiration, passion, and intent.  There’s also some flourishes of piano, keyboard, Theremin and mellotron at crucial points to add to the atmosphere.  It’s all very well done and never over the top – the album retains a nice balance throughout.  The rhythm section perfectly compliments this dynamic, lingering underneath with a pulsing intensity, though never overshadowing the whole or eclipsing the entirety.  The clarity of the production allows all of these elements to simultaneously shine.

It’s worth mentioning that this album is a bit long in the tooth.  Each of these six songs is an epic in and unto itself, with the first four clocking in at over the 10 minute mark, and the longest at nearly 13 minutes and a half minutes.  Even the Krautrock influenced instrumental, “Sonntag”, is eight minutes and forty seconds.  That’s a lot to take in, especially with all the detail that’s gone into crafting this record.  It demands active engagement on the part of the listener in order to appreciate the album’s nuances.  Maximum attentions reaps maximum rewards.

Elder have already proven themselves to be quite a force, through the strength of both their recorded output and their live performances.  They’ve toured all over the world, playing to audiences both big and small.  It’s hard to imagine they won’t be riding a wave of buzz and critical acclaim after this album drops, though it’s also tough to tell where their path will ultimately lie.  Surely more doors will open, more opportunities present themselves, though will this lead Elder deeper into the musical equivalent of The Floating World, or will it allow them the freedom to carve their own niche and to divine their own personal path?

EU Tour Schedule

Red Moon Architect “Return of the Black Butterflies” Album Review & Video…

Red Moon Architect

Return Of The Black Butterflies – CD // DD

Inverse Records – Release Date:  May 19th, 2017

Reviewed by: Terry “The Ancient One” Cuyler


1. The Haunt
2. Tormented
3. Return of the Black Butterflies
4. Journey
5. End of Days
6. NDE

Saku Moilanen – Schlagzeug & Keyboard
Ville Rutanen – Gesang
Matias Moilanen – Gitarre
Anni Viljanen – Gesang
Jukka Jauhiainen – Bass

Hey all this is Terry The Ancient One and I’d  like to tell all you doomophiles out there about  Return of the Black Butterflies, by the Funeral Doom Metalers Red Moon Architect.  Founded in  Kouvola, Finland  in 2011, Return of the Black Butterflies will be Red Moon Architect’s 3rd album.  It also will bring a big change for the band with their new vocalist formerly of Casket Ville Rutanen. While the departure of  Juuso Turkki  must have been difficult for the band, I am certain long time fans and those who have never heard of  Red Moon Architect are getting a great album.

Pro Band Pic


Red Moon Architect  fearlessly uses musical contrast with crushing doom and sweeping melodies to creates a sense of drama in their music. Opening with ‘The Haunt’ drummer/keyboardist Saku Moilanen sets the mood for the entire album with a haunting keyboard instrumental that transports the listeners to what to me feels like the wind swept icy Steppes where the icy winds and chilling howling winds have driven men mad. Following his keyboard lead in, Saku takes up his 2nd job as drummer with guitarist Matais Moilanen and bassist Jukka Jauhiainen to bring Ville Rutanen with vocals that sound like they come from the depths of Hell which are at times complimented by chilling doom riffs.  At other times tracks are contrasted by somber melodies that compliment  the haunting vocals of  Anni Viljanen’s. I really have a difficult time picking any songs as favorites from this majestic album.  They all sort of blend into one another making this one of those albums that I believe must be listened to in it’s entirety.  Set to be released May, 19th,2017  Red Moon Architect’s  Return of the Black Butterflies is now available for pre-order.